BOOKS, fanzines and other good reads...
PUNK FACTION – BHP ’91 to ’95 by David Gamage (Earth Island Books) The first time I was in touch with David was sometime in the late Eighties. He’d either sent a demo of one of his bands for a review or perhaps he came to one of the gigs we were (badly) organising in Canterbury. Anyway, he was living in Tunbridge Wells, which wasn’t too far away, and also going to a lot of the same gigs up in London, so it was inevitable that our paths would cross. He was in several bands, most notably Couch Potatoes and Joeyfat, the latter of which I saw live on quite a few occasions. He also ran his own fanzine, ‘BHP’ (generally understood to stand for ‘British Hardcore Press’ although there were other explanations…) and its’ those publications which form this book. Now, I can’t say it was the best fanzine ever made (and I wouldn’t say it about ‘Fear & Loathing’ either) but ‘BHP’ really captured the essence of what fanzines are supposed to do, namely, to document a particular time, place or scene. The period when ‘BHP’ started was at a point when ‘alternative’ music was still very much underground, just before Nirvana hit the national charts and several years before Greenday became huge (in fact, Greenday feature in a couple of brief interviews included in this book, before the release of ‘Dookie’ and while they were still playing small venues…) Back at the time, interviews were mostly organised by turning up early at gigs and asking the bands if they could spare some time (very few would ever turn you down) or, if you wanted to be a bit more ambitious, sending a bunch of questions in an envelope and hoping you got a reply (The internet has since made things easier, but somehow less exciting…) When you read through this book, it recalls so many quirks of that time… the music was always the important thing but at the same time, fanzines like BHP would cover subjects like Vegetarianism, Hunt Saboteurs and Factory farming, all things which were still pretty underground subjects. It’s also interesting to see how things develop, from covering smaller bands who were totally DIY just because you liked them, through to being asked to feature bands like Garbage, who were basically manufactured to become instantly-popular. On that occasion, the offer of free food and drinks won-over, but generally David and his trusty-contributors stuck to things that they knew and loved, doing their best to let other people know what was going on. Also, as our musical tastes were pretty similar, there’s loads of reviews of gigs I attended and records that I bought, so it’s great to read what someone else made of them. Similarly, if you’ve ever been in a band and you read Davids’ account of the Couch Potatoes tour through Germany, you’re going to recognise at least a few of the situations. I think it’s that aspect of familiarity which I most enjoyed. The writing is in a very down-to-earth style and if you were around at the time, you’re going to identify with it. At a time when the history of Punk Rock seems to get re-written on a monthly basis (often by people who weren’t even there) a book like this is an essential document of how it continued to develop, what was really happening and how much fun it was… And, of course, it continues. David now runs the excellent Engineer Records label and continues to play music as guitarist in the band, Come The Spring.) This document is the real thing and whenever someone tries to tell you that Punk died by 1979, you can shove this down their throat ! Highly recommended.
SAFETY PIN #4. (www.safetypinmag.com) I’ve been very impressed by the rapid publications of these mags. The first issue surfaced only last year and, considering the colourful and glossy quality involved, it’s impressive that they’re up to #4 already. The main force behind it, Martin, has been involved with fanzines for many years and also works at People for Print (a well-known alternative printers based in Sheffield) so he obviously knows what he’s doing. But it’s the content that really seals the deal. The mag covers bands from many different aspects of ‘punk rock’, both old and new and from well-known through to grass-roots. The interviews tend to be well-informed and interesting even if you’re not a particular fan of the subject and that, for me, is what interviews should be about. Find out the reasons why people are doing what they do (of course, some bands have a lot less thought behind what they’re doing, but at least it’s good to know that’s the case…) The latest issue features Charlie Harper, The Lurkers (the Stride/Esso/Moore version) and The Svetlanas, who all make great reads. Lesser known bands like Chaos 8, Pizzatramp, Bones Park Rider and Hung Like Hanratty are also investigated and, in true zine tradition, there’s also plenty of reviews and articles which will, at the very least, have your noses twitching with curiosity. But it doesn’t even stop there ! The first issue came with a 7” vinyl EP by original Sheffield punkers The Stunt Kites, and since then each issue has included a free CD highlighting some of the best and most enthusiastic punk rock labels around (Damaged Goods, TNS and STP, to be precise.) The price may be a fiver, but you certainly get good value for your money and this is just the kind of thing that a vibrant scene needs. If you’re quick, back issues are still available from the website (see above) but regardless of where you start, be sure to check this out and support it as much as you can.
I KNOW BETTER NOW by Richie Ramone (published by Backbeat Books) I’ve always been of the opinion that Richie joined the Ramones at a crucial point in the bands’ history. By 1982, their two most recent albums, ‘Pleasant Dreams’ and ‘Subterranean Jungle’ had both included classic songs but had failed to meet commercial success. Drummer Marky had developed an alcohol problem that facilitated his being fired and the relationships between Joey, Johnny and Dee Dee were as volatile as ever. The band could quite easily have imploded but, instead, they recruited Richie from the ensuing auditions and what he brought to the band would establish them for the remainder of their career. He was a talented drummer who could provide the perfect backbeat for the band whilst also contributing back-up vocals and offering his own song-writing abilities. On top of this, his enthusiasm towards the band re-sparked their overall approach and, in 1984, would result in the rightly-revered ‘Too Tough To Die’ album which revitalised their reputation. Over the following years he would contribute great songs like ‘Somebody Put Something in my Drink’, ‘Smash You’ and ‘Can’t Say Anything Nice’ to the setlist and certainly established himself with the fans, even though the original band members (particularly Johnny) seemingly failed to fully recognise his contribution. He eventually quit the band in 1987 after a disagreement over merchandise-rights, but by that point he had already played a pivotal part in establishing the bands’ reputation which would see them become global legends before their eventual demise in 1996. What this book explains is that their story isn’t as simple as most biographies try to relate and that the mid-Eighties period was just as essential to their legacy as their original Seventies output. But, just as a biography ought to do, it tells the whole story of the subject, with tales from his childhood, his original obsession with drumming and his musical career both prior and after the Ramones. He also discusses his regrets concerning his departure from the band and particularly his estrangement from Joey, with whom he had become a close friend. The book is written very well and without any sense of bitterness or spite, even though his contribution has often been ignored or understated. Even though there have already been numerous books about the Ramones, for anyone truly interested in the band, this is an essential piece of the puzzle and one that you can’t afford to miss.
RHAPSODY IN BLACK ; THE LIFE AND MUSIC OF ROY ORBISON by John Kruth (published by Backbeat Books) Although most-remembered for hits like ‘Oh Pretty Woman’, ‘Only the Lonely’ and ‘It’s Over’, many people forget that he was also one of the original rock’n’roll stars at Sun Records in 1956, where he recorded classics like ‘Ooby Dooby’, ‘Go! Go! Go!’ and ‘A Cat Called Domino’ (later covered by The Cramps.) But while he moved away from the rockabilly sound when he signed to Monument Records in 1960, he was by then developing his vocal prowess and a distinct lyrical approach which would soon set him apart from any other singer of his time, leading to his biggest successes. Despite adopting an almost anonymous persona (permanently hidden behind his dark-shades) Orbison had an incredible voice that made its’ own mark, while his songs spoke of vulnerability and loss. Combined with the innovative production skills of Fred Foster, they created a pop sound that was epic and just as emotive as the words themselves, providing early-inspiration for the likes of Phil Spector and others. What this book does is not only document the recordings and the way that they came about, but also tells the story of the man himself and the tragedies that he had to bear whilst creating his music. This is the part not many know, but it is a story in itself. Orbison and his first wife, Claudette, had divorced in 1964, only to re-marry a year later after reconciliation. However, this tragically cut-short when she died in a motorcycle accident in 1966. Two years later, whilst he was on tour in the UK, a house fire cost the lives of his two eldest children, further devastating his family. At the same time, his music had fallen from favour, due both to managerial problems and the dominance of new artists like the Rolling Stones and The Doors (even despite The Beatles being notable fans of The Big O !) During the Seventies, he continued to tour but had little chart success and it was not until 1986 when his song ‘In Dreams’ featured in David Lynch’s movie ‘Wild At Heart’ that he started to develop a new audience. He collaborated with artists like k.d.lang, Tom Waits and Glenn Danzig (!) and was inducted into the Rock’n’Roll Hall of fame by Bruce Springsteen. In 1988, he would also collaborate with George Harrison, Bob Dylan, Jeff Lynne and Tom Petty as The Travelling Wilburys, taking him back to the top of the charts. However, fate still had one more nasty trick in store for him. He suffered a heart attack and died, aged only 52, at the end of that same year. Reading this book, you’re able to put everything in context and appreciate the life and career of this man and it really is an incredible story. At the time of his death, his career had been completely revitalized and he really was a living-legend. If he had survived longer, there’s a good chance that we would have heard more great music from him, but as that was not to be the case, we can still be content with all the classics he had already left for us.
DIARY OF A ROCK’N’ROLL STAR by Ian Hunter (published by Omnibus Press) I’ve often read comments in the music press rating this book as one of, if not the best rock’n’roll tomes ever written. Of course, that kind of hype can be off-putting, especially when the same kind of magazine also sings the praises of Led Zeppelin or Guns & Roses, but when trusted friends tell me the same thing, I know that it may well be true. Unfortunately, having never been the biggest Mott The Hoople fan, I’d never gone out of my way to investigate further. But having finally caught up, I am now kicking myself. I have no excuses – I have failed in a task that I should have completed a long time ago. This is, indeed, a wonderful book. I won’t say it’s the best rock’n’roll book I’ve ever read, but it’s very near the top of the list and it’s certainly influenced many of the great books that have been written in subsequent years. The key to the success of this book is Ian Hunters’ complete lack of ego or pretension. Despite the title (one not chosen by Hunter and something he has never been comfortable with) the whole narrative is down-to-earth and completely devoid of bullshit. Mott The Hoople may have been pretty-well known at the time, but were far from mega-stardom and still spending their time finding ways to supplement their wages (in their case, scouring local pawn shops in the towns they played for vintage guitars that they could sell at a profit when they returned to London !) Based around their 1972 American tour, they encounter plenty of problems but confront them with anger, bewilderment and humour, depending on the severity. The difficulties and reactions really aren’t that far removed from how we all respond to every-day life, and that’s the beauty of this book. We’re not in the same situation, but emotionally, we all know the same feelings. Equally, the genuine passion that’s related when things go their way, we all know that ! Forty five years after the event, a book like this could easily become a mere period-piece, but that simply isn’t the case here. It remains such an easily-relatable tale, even if you’re not a fan of the band. Or even if you’ve never heard of them. The story is about real people with real lives in the real world, even as legends like Bowie, Iggy Pop and even Elvis Presley grace the pages. Isn’t that what great literature is about ? Or great music, for that matter… This is a very enjoyable book for all the right reasons and, even if it isn’t entirely about Mott The Hoople, it will give you a much better appreciation of what they were about and why so many people still rate them so highly. But it’s the book that really counts and all I can say is, don’t make the same mistake I made. Be sure to read this as soon as you get the chance.
GREEN DAY FAQ by Hank Bordowitz (published by Backbeat Books) I saw and interviewed Green Day during their early tours, before ‘Dookie’ went massive, and I’ve also seen them in recent years, headlining big events at Hyde Park (even if I was mainly there for some of the support bands.) I’ve never thought that they ‘sold-out’ or ‘copped-out’ for the simple reason that, I always thought they were a ‘pop’ band so what’s the problem with them getting popular ? In fact, if anything, they’ve actually become more political as they’ve become more successful, using their platform to speak out against American imperialism and right-wing trends. It’s not as if they were Crass playing a Royal Command Performance (although, I would love to have seen that !) so I have no problem with Green Day even if I haven’t bought any of their records for a long time. I still think they’re much more a positive than a negative. Joe Strummer is quoted here, saying, ‘When Green Day come out of my radio… it sounds a lot better than the rest of the shit coming out of it’, and basically that’s the crux of the matter. Are you going to dislike a band just because they’re popular ? What this book does is to lay out all the information you want or don’t want to know. To be honest, at times it delves into areas that I would rather not read about (not that I’d prefer to not know about it, but just that it’s dull) and the whole business side of things doesn’t really interest me. There are more important details that I would have preferred to see documented (it refers to the bands’ performance on the American Music awards when they encouraged the audience to chant ‘No Trump, No KKK, No Fascist USA’, but doesn’t accredit MDC for the original lyric, even though Green Day did so in several high-profile interviews.) On several occasions, the author seems intent on excusing Green Day for their popularity when that seems to miss the point… For me, they don’t need to explain themselves, we ought to be big enough to figure these things out for ourselves. It’s okay to like things that you enjoy… would you employ the same criteria to Elvis Presley ? The Beatles ? The Sex Pistols? Where this book does work – and it does so very well – is that it documents a band who came from a genuine DIY, punk rock scene and with no musical compromise or coercion, crossed over to the mainstream. Even Lawrence Livermore (founder of Lookout Records) acknowledges this and he was there from their very beginning. Green Day have become massively popular but they still write and play good music and have a conscience (although hanging-out with Bono is pretty sick.) If a band is going to be successful, isn’t this a better game-plan than Oasis ?
1964-74 : A DECADE OF ODD TALES AND WONDERS by Travis Pike (published by Otherworld Cottage Industries.): This book was originally published in 2013 and has been one of the cornerstones (alongside various reissues and compilations of new recordings) in the resurgence of interest in Pike’s musical and artistic career. To build on this and to ensure that the story remains in the public domain, a newly expanded edition of his book is now being made available and I hope that it brings his story to an even wider audience. He may not be the best known name from the Beat music era of the Sixties, but his tale is unique, intriguing and very well-told. Travis not only has a great story to tell, but he knows how to make it entertaining. A series of misfortunes conspired to prevent him from achieving the success that in other circumstances could easily have been his, but he still remains remarkably positive about his experiences, preferring to share and enjoy what he did achieve rather than bemoaning what might have been. His enthusiasm is infectious, really drawing you into his adventures, from Hot Rods and Demolition Derby’s in Boston through to time spent in Germany as a US Navy recruit, spending his free-time as a popular rock’n’roll singer in the nightclubs. Eventually back in the States, his musical career starts to take off, finding himself staring in the cult-movie ‘Feelin’ Good’ before forming his bands The Boston Massacre and, subsequently, The Tea Party. They relocate from the East Coast to Los Angeles in an attempt to further their ambitions, but like many other notables, they weren’t destined to become household names. But this is never the point of this tale, it’s the fact that they took their dreams and ran with them. If that isn’t an inspiring tale of rock’n’roll in its’ true essence, what is ? This new edition includes over 100 extra pages of new text and additional photographs (fortunately, Travis has always maintained a healthy archive.) In the five years since the book was first published, he has been able to reassess the original narrative and now recounts it even more effectively. It’s a pertinent reminder that the history of rock’n’roll certainly isn’t just about the big names ; it’s the grass-roots that keep everything going ! I wholeheartedly recommend this book to anyone with a real interest in Beat music and great stories !
SOAP THE STAMPS, JUMP THE TUBES by Gail Thibert (published by www.unbound.com) Gail has led an illustrious punk rock life, attending gigs since the early Eighties and playing in bands such as Adventures in Colour and Lost Cherrees. She also balanced these escapades alongside numerous precarious day-jobs (some a lot more interesting than others) and an equally unpredictable decade of living within Londons’ then-flourishing squat-scene (before eventually moving-up to Housing Association tenancies.) She recounts this period in her life and intersperses it with tales of motorbikes, travels to Greek islands and relationships both good and bad. Her story takes so many twists and turns that it never becomes tedious or self-indulgent, with events from funny to sad and words of wisdom standing alongside words of warning. But for me, the most intriguing aspect is the way that so many points in Gails’ life have overlapped with my own, albeit several decades before I actually met her. She talks about gigs that I attended, places that I went to and friends that I also knew. It turns out that she was even living at a squat that I occasionally stayed at, if I missed my last train back to Kent. I suspect that this is going to be the case for many people who were part of the London punk scene at that time, so for them it’ll be a great series of flashbacks. At the same time, though, for those who weren’t there, it’s also a great document of an era when, despite the one-sided prosperity of Thatchers’ society, a vibrant alternative existed on a much-less financially-obsessed level. Admittedly, as Gail illustrates, there were a lot of unpleasant aspects to all of it, but she still portrays it as a positive time for those determined not to take part in the Capitalist circus. Gails’ writing is remarkably confident for someone writing her first book and my only criticism is that I would have liked to see photos or artwork to illustrate the era, but that takes nothing away from the story. I thoroughly enjoyed this book and I hope that this proves to be just the first of such books still to come from other sources.
THERE’S NO BONES IN ICE CREAM by Sylvain Sylvain (published by Omnibus Press.) I have suspected for a long time that the most reliable and well-balanced account of the New York Dolls story would only appear if Sylvain got around to writing his autobiography. This book confirms my assertion but also offers more than I ever expected. To begin with, it’s over 100 pages before the band actually come together. In that time, Sylvain explains his unsettled upbringing (born to a Jewish family, living in Egypt, who were eventually forced to leave their home and seek refuge in France) and his eventual relocation to America, where his involvement in underground music, Art and fashion is almost inevitable. It sets the scene perfectly for when the group of friends (rather than musicians) come together to form their trail-blazing band. I expect most of the ensuing tale is probably already familiar to fans, but in these pages you’ll discover more relevant details than ever-before, from the highs to the tragic lows. The important theme that keeps the story so insistent is that, throughout the whole story, Sylvain maintains such a positive approach. For a member of a band who never achieved the recognition and success they deserved (only to see countless others blatantly ‘borrow’ their style and sound to gain massive popularity and sales) Sylvain nonetheless remains resilient ; after all, he was an integral part of the Dolls. All the pretenders, however good they may be in their own right, all owe him/them their due. The fact that the mainstream never caught up is the fault of the mainstream and Sylvain comes across as content that what the New York Dolls achieved and attained can never be taken away from them. Perhaps it isn’t quite as outrageous now as it once was, but the songs still stand and sound great. For that, Sylvain is rightfully proud and, despite the trials they endured, no-one can take away their rightful place in rock’n’roll history away. It’s that attitude that makes his telling of the story so essential and enthralling. Admittedly, there are a few things that I would have liked to be covered in more depth (his post-Dolls’ musical exploits and more details about the eventual reunion alongside Arthur Kane and David Johansen) and I guess that was too much to ask for at present – perhaps it will surface at a later date ? But trust me, this is a book that you have to read. Hear the story direct from someone who was in the thick of it and who knows how to tell the story in an entertaining, positive fashion. There have already been some great books about the Dolls already, but I can’t imagine any ever surpassing this.
HEADWINDS #2. (headwindszine@gmail.com) Very well-produced (as opposed to the usual, shoddy FNL efforts) fanzine that combines music related interviews and articles alongside punk-themed comics/cartoons. Lots of record reviews and you get the impression these are recordings that the reviewer has actually bought rather than just receiving through the post - there’s a lot of obvious love for the music. The interviews (with Culture Shock and The Proletariat) are well-thought out, making them interesting for readers even if you’re not a fan or know little about the band, which is always a good thing (maybe you’ll pay more attention now that you know more about them.) At only 24 pages, it is a bit skinny (very popular amongst ‘the kids’, no doubt) and I do kind of wish there was a bit more material, but for a new publication, this is very promising and I’m really hoping for great things from it. The £1.50 cover price is well-worth the investment, so don’t be stingey – order a copy soonest !
THE DOORS – SUMMER’S GONE by Harvey Kubernik (published by Otherworld Cottage Industries.) I won’t claim to be the world’s biggest Doors fan but it would be a fool who tried to dismiss them out of hand. Their legacy still remains untouched, a band who brought true innovation to their music, inspiring many others who would follow and truly epitomizing the late Sixties, West Coast rock scene of which they were the vanguard. Admittedly, familiarity with their ‘classic’ songs over the years has perhaps dissipated their original impact, but just listen to the original six albums (made in a mere four years !) and you’ll see how remarkable they were. In a way, the music is all you need to know and many of the books that have been published on the subject are almost unnecessary once you know the basic story, but this book really captured my imagination. Instead of just recounting the same old stories, facts and figures, Harvey Kubernik has opted to gather together rare or exclusive interviews and recollections with people who were there at the time, ranging from the band members themselves to original fans and acquaintances, to relate the memories that really capture what made it special for them. This is what makes the book so interesting, as it puts the story in a clearer perspective and makes it much easier to relate to. Fans – many of them just kids at the time – tell how they first came across the band and embraced their sound and image, while Ray
Manzarek, Rob Krieger and John Densmore explain how everything came together in a natural, unpretentious way. Their conversations relay the excitement they felt as their music was created (‘without ego’) in the same way that the fans relate their excitement in seeing the band for the first time. This is something that most, if not all of us can recognise, concerning whatever bands you’ve loved or have been in, and it’s that excitement that still makes rock’n’roll so vital. It made me grab my old Doors albums and spend an evening listening through them again ! Of course, much is made of the character and enigma of Jim Morrison and that’s inevitable. Someone who was such an iconic performer, who easily bewitched his audience but at the same time harbored a real desire to challenge them and push them further, is always going to be a focal point. But here, he’s also revealed to be a genuinely cool guy to those he got to know and someone who also felt the excitement of seeing his work come together (a particularly poignant tale comes from the bands’ former minder, Tony Funches, who relates the day when the first batch of Morrisons’ poetry book ‘The Lords and the New Creatures’ arrived… Jim is described both as being ‘excited’ but also ‘real shy…trying to hide how proud he was.’ ) It’s these recollections, rather than the tales of his eventual disillusion and decline which so many books have focused-on, which will appeal to the real fans, a real glimpse of Morrison and not the media-projection that is usually portrayed. It’s episodes like this, which capture the real essence of the band, that I enjoyed so much and I’m sure anyone else, from rabid fan to appreciative listener, will do the same. I’m hoping this book will have a thorough distribution around the world, but if you have any difficulty finding it, just look up ; www.otherworldcottageindustries.com
Manzarek, Rob Krieger and John Densmore explain how everything came together in a natural, unpretentious way. Their conversations relay the excitement they felt as their music was created (‘without ego’) in the same way that the fans relate their excitement in seeing the band for the first time. This is something that most, if not all of us can recognise, concerning whatever bands you’ve loved or have been in, and it’s that excitement that still makes rock’n’roll so vital. It made me grab my old Doors albums and spend an evening listening through them again ! Of course, much is made of the character and enigma of Jim Morrison and that’s inevitable. Someone who was such an iconic performer, who easily bewitched his audience but at the same time harbored a real desire to challenge them and push them further, is always going to be a focal point. But here, he’s also revealed to be a genuinely cool guy to those he got to know and someone who also felt the excitement of seeing his work come together (a particularly poignant tale comes from the bands’ former minder, Tony Funches, who relates the day when the first batch of Morrisons’ poetry book ‘The Lords and the New Creatures’ arrived… Jim is described both as being ‘excited’ but also ‘real shy…trying to hide how proud he was.’ ) It’s these recollections, rather than the tales of his eventual disillusion and decline which so many books have focused-on, which will appeal to the real fans, a real glimpse of Morrison and not the media-projection that is usually portrayed. It’s episodes like this, which capture the real essence of the band, that I enjoyed so much and I’m sure anyone else, from rabid fan to appreciative listener, will do the same. I’m hoping this book will have a thorough distribution around the world, but if you have any difficulty finding it, just look up ; www.otherworldcottageindustries.com
THE SEX PISTOLS 1977 : THE BOLLOCKS DIARIES, AS TOLD BY THE SEX PISTOLS (published by Cassell Illustrated.) Although the full story of the Sex Pistols extends much further than just this one year, it’s undeniable that 1977 was the period during which they made their most immediate impression, both on social and cultural levels. Whilst many original fans will argue, with some justification, that the real power of the band (and even ‘punk’ itself) was over by the end of 1976, it wasn’t until the following year that many people actually found out about the new movement. The band had been playing in London on a pretty regular basis, but if you lived further afield your chances of seeing them were slim even if you had heard about them or read reviews. So it wasn’t until 1977 when their records started to become available that most potential fans were able to hear exactly what the band were doing. Of course, at the same time the media coverage grew to frantic proportions, with tabloids blatantly fabricating headlines and whipping up bigotry along the way. But access to the music itself made the greatest impact. People were able to find out for themselves what the band sounded like and what they were singing about. Those who kept their eyes and ears open and who chose to think for themselves could appreciate the reality. The establishment did their best to contain this. ‘God Save The Queen’ was virtually banned and cheated out of its’ Number One spot (and remember, this was purely for political reasons ; there was no offensive language in the song, just opinions that the establishment didn’t want to have heard.) And later in the year, a Court prosecution attempted to criminalise the use of the word ‘Bollocks’. The bully boy tactic failed with a verdict that effectively vindicated the use of everyday language on a cultural level (something that we now take for granted.)
Of course, the pressure on the band themselves was immense and, indeed, they barely lasted to the end of the year. But whatever the eventual outcome, their impact had been made and can now be seen to be on a cultural level on par with that of Elvis Presley or The Beatles.
What this book succeeds in doing, is telling the entire story of that tumultuous year, with a verbal history recounted by members of the band and others who were there at the time. Illustrated with original photographs, documents and memorabilia, this book replicates the full story in superb quality. There are no attempts to interpret or analyse the events or material, but rather just an accurate account of what really happened. Putting it into this context will give the reader a good feel for what the band went through and how they changed the subsequent course of music, fashion and other forms of expression. While this particular publication may have been tied-in with the 40th Anniversary of the original events, the story it tells will remain relevant whenever you read it. It’s a beautiful book which gives a fine account of events which remain significant.
Of course, the pressure on the band themselves was immense and, indeed, they barely lasted to the end of the year. But whatever the eventual outcome, their impact had been made and can now be seen to be on a cultural level on par with that of Elvis Presley or The Beatles.
What this book succeeds in doing, is telling the entire story of that tumultuous year, with a verbal history recounted by members of the band and others who were there at the time. Illustrated with original photographs, documents and memorabilia, this book replicates the full story in superb quality. There are no attempts to interpret or analyse the events or material, but rather just an accurate account of what really happened. Putting it into this context will give the reader a good feel for what the band went through and how they changed the subsequent course of music, fashion and other forms of expression. While this particular publication may have been tied-in with the 40th Anniversary of the original events, the story it tells will remain relevant whenever you read it. It’s a beautiful book which gives a fine account of events which remain significant.
FLYIN’ SAUCERS ROCK’N’ROLL : THE COSMIC GENIUS OF SAM PHILLIPS by Peter Guralnic, Knox Phillips and others. (Backbeat.) Compiled to complement the Country Music Hall of Fame exhibition in Nashville, this book is not so much a biography of the legendary producer but rather a well-aimed introduction to the character and achievements of a man who undoubtedly had a massive influence on popular culture from the Fifties onwards. Appropriately sized the same as a 10” record, the book may only contain 66 pages but with so many well-chosen pictures (mostly full-colour) and text that really gets to the heart of the matter, I doubt that anyone would feel short-changed. Sam Phillips initially started his music career promoting, broadcasting and recording black R&B and Blues performers, not an easy task at a time when segregation was still rife throughout America. But Sam loved the music and saw his attempts to make it more popular as a way of braking down barriers. Along the way, he uncovered truly legendary talents ; an original hand-written note pictured in the book and headed with the title ‘Talent Just Waiting To Be Discovered’, goes on to list the likes of BB King, Rufus Thomas, Ike Turner and Howling Wolf ! But it would be his discovery of Elvis Presley that was to ensure his fame in the annals of history. As the story goes, Elvis entered Sam’s Sun Studios in Memphis just to record a song as a gift for his mother. After a second visit to the studio, Sam introduced Elvis to guitarist Scotty Moore and the eventual recording of ‘That’s All Right’ kick-started a musical revolution. Elvis hadn’t invented rock’n’roll but he certainly defined it. As Sam commented, he had always been looking for ‘perfect imperfection’. Not something that was done according to the rule book, but something that just sounded great ! The early Elvis recordings were soon to be followed by the likes of Jerry Lee Lewis, Carl Perkins, Johnny Cash, Roy Orbison and many others. Their influence remains vital to this day. Both the Beatles and the Stones acknowledged the legacy of Sun Studios, and who would be foolish enough not to recognize ‘perfect imperfection’ as the essence of Punk Rock ? As I said, this isn’t a thorough biography but in many ways you don’t really need to know everything about the man, you just need to know what he inspired. He may not have made the music, but he loved it and ensured that the whole world could share it. We all owe him a huge debt of gratitude.
MONTY PYTHON FAQ ; All That’s Left To Know About Spam, Grails, Spam, Nudging, Bruces and Spam…by Chris Barsanti, Brian Cogan and Jeff Massey (Applause) This is very much a book for fans, by fans. Their passion for the subject is evident on every page (apart from the index, which is rather dull) but the best thing is that they keep their overview focused and avoid getting too picky or nerdish. After all, Monty Python is a subject that almost invites obsessive behaviour. From their roots in the Sixties and eventual climb to becoming bona fide comedy legends in the Seventies and beyond, with endless spin-offs and later projects that have embraced virtually every entertainment media, the Pythons have undeniably had a massive influence over modern culture. What this book sets out to do is to put it all in perspective, from the lesser-known predecessors that influenced their work (Spike Milligan in particular, but also the likes of David Frost and the Beyond The Fringe team) through to the many figures who played important parts along the way.
It also documents the private lives of the individuals, avoiding sensationalist terms, and goes on to detail their post-Python projects (nice bit of alliteration there, nudge nudge…) The chronological account of the original Flying Circus episodes does get a bit tiring at times, but only because most of us who would read this book are already familiar with most of the sketches. It works much more effectively when put to the task of detailing the individual films, which doesn’t involve so much repetition in one go. But overall, the fact that the writers are more than willing to be objective about the Pythons’ output is the real strength of the book. They’re very happy to say when something was great but also duty-bound to concede when other things didn’t work so well. Whilst there are already many books available on the subject of Monty Python, quite a few by the Pythons themselves, this one is a very successful introduction to the wider realms that their comedy bridged and a fine signpost towards their other projects and influences that really should be investigated. So please don’t ignore this review… Doug and Dinsdale wouldn’t like that…
It also documents the private lives of the individuals, avoiding sensationalist terms, and goes on to detail their post-Python projects (nice bit of alliteration there, nudge nudge…) The chronological account of the original Flying Circus episodes does get a bit tiring at times, but only because most of us who would read this book are already familiar with most of the sketches. It works much more effectively when put to the task of detailing the individual films, which doesn’t involve so much repetition in one go. But overall, the fact that the writers are more than willing to be objective about the Pythons’ output is the real strength of the book. They’re very happy to say when something was great but also duty-bound to concede when other things didn’t work so well. Whilst there are already many books available on the subject of Monty Python, quite a few by the Pythons themselves, this one is a very successful introduction to the wider realms that their comedy bridged and a fine signpost towards their other projects and influences that really should be investigated. So please don’t ignore this review… Doug and Dinsdale wouldn’t like that…
SMASHING IT UP – A Decade of Chaos with The Damned by Kieron Tyler (Omnibus) A long-overdue biography of The Damned, a subject that hasn’t been attempted since Carol Clerks’ The Light At The End of The Tunnel’ in 1987. While that book remains a rather worthy volume in itself, this manages to go into much greater detail, covering parts of the story that have only recently re-surfaced and also bringing things further up to date. Given the awkward and intricate relationships between many of the former members, Kieron has done very well. He gives the band the full recognition they deserve for their achievements in 1976-77 (even allowing ‘Music For Pleasure’ a timely and appropriate reappraisal) properly placing them shoulder-to-shoulder alongside the Clash and the Pistols in terms of cultural impact and also gives credit for the albums they produced over the next decade. The book also contains a lot of scarce or previously unseen photo’s, making it a real treat for fans. My only gripe is that so little time is spent on the period of time after 1989 (a mere twenty or so pages.) Admittedly, the various versions of the band were less than prolific during that time, but surely the albums they have produced (‘Grave Disorder’ in particular) deserved more than just passing comments ? Whatever, this is a book that finally starts to put the story straight and I’m glad that it’s here.
LONELY BOY by Steve Jones (William Heinnemann) Considering Jonesy’s well-known literacy problems, this is obviously co-written with an appropriate scribe (Ben Thompson) but regardless of the way it was put together, the one thing that this book captures is the subjects’ voice. If you’ve ever heard him
speak, via vintage Pistols interviews or more recently on his excellent radio show, you’ll instantly pick up this tones and mannerisms. You’ll also hear some surprisingly accurate and sometimes brutally-honest recollections. I don’t want to give too much away, but Steve had an awkward childhood that later on manifested itself in obsessive behaviour, often to his own detriment. Much of this book is about this personal aspect and the way he eventually came to terms with it, although I will make it clear that this isn’t some self-righteous ex-addict trying to tell kids what they should and shouldn’t do. He keeps it all about himself and in
this way, it wins your support much more effectively.The fact that he is willing to discuss some quite unpleasant episodes from his life also makes the whole book more believable. He really doesn’t seem to have anything to hide and no axes to grind, which gives it a balanced viewpoint that is missing in some of the other Pistols-related tomes. He has some great stories as well, which he relates with relish, but all with his sly sense of humour keeping it in touch. I have to say, unless Paul Cook surprises us all with his own memoirs, this is possibly the best book from any of the Pistols to date, although I’ll still maintain that you really need to read it alongside Matlock and Lydon’s own books to get the full picture. But this one really puts a lot of things in their place and is a lot of fun with it. Very recommended !
speak, via vintage Pistols interviews or more recently on his excellent radio show, you’ll instantly pick up this tones and mannerisms. You’ll also hear some surprisingly accurate and sometimes brutally-honest recollections. I don’t want to give too much away, but Steve had an awkward childhood that later on manifested itself in obsessive behaviour, often to his own detriment. Much of this book is about this personal aspect and the way he eventually came to terms with it, although I will make it clear that this isn’t some self-righteous ex-addict trying to tell kids what they should and shouldn’t do. He keeps it all about himself and in
this way, it wins your support much more effectively.The fact that he is willing to discuss some quite unpleasant episodes from his life also makes the whole book more believable. He really doesn’t seem to have anything to hide and no axes to grind, which gives it a balanced viewpoint that is missing in some of the other Pistols-related tomes. He has some great stories as well, which he relates with relish, but all with his sly sense of humour keeping it in touch. I have to say, unless Paul Cook surprises us all with his own memoirs, this is possibly the best book from any of the Pistols to date, although I’ll still maintain that you really need to read it alongside Matlock and Lydon’s own books to get the full picture. But this one really puts a lot of things in their place and is a lot of fun with it. Very recommended !
THE CLASH FAQ by Gary J.Jucha (Backbeat) This is a difficult book to review. As a biography, it’s done pretty well and some of the aspects covered are pretty insightful. For example, it stresses the importance of original drummer Terry Chimes (at both ends of the bands’ career) and is also willing to admit the actual strengths of the final line-up rather than just following the party line that it was a mistake that is best-left ignored. The author is also argues that it was in fact ‘Sandinista’ that was the bands’ masterpiece, an opinion that virtually every other fan would vehemently disagree with. Perhaps as an American fan whose love of the band grew during their later years, he has a rather different perspective to slightly-older Brit-fans, so it’s a valid point of view, even if many wouldn’t concur. He is also able to include a lot of first hand concert experiences which really bring the text to life. However, the big problem is the numerous factual errors occur, particularly when discussing contemporary bands. For example, gobbing at bands was apparently invented by Dave Vanian ! (Sensible or Scabies perhaps, but never the stylish Vanian !) while the Sex Pistols were intent on ‘cheating their fans’, a detail that could only be gleaned by someone who thought ‘The Great Rock’n’Roll Swindle’ was a ‘documentary’. Even The Clash themselves are subject to some pretty odd claims ; ‘White Riot’, for example, is said to be influenced by The Who’s ‘Baba O’Riley’ ! It’s things like this that devalue the book, which is a real shame. Perhaps a knowledgeable second-opinion in the editorial stage would have been helpful and cut down on the silly mistakes, making the more interesting content all the more potent. It certainly isn’t a bad volume and it also manages to bring a few new things to the table, but it could’ve been even better.
MDC : MEMOIR FROM A DESTROYED CIVILIZATION by Dave Dictor (Manic D Press) This isn’t just a biography of a hardcore band, this is the tale of someone who was, and remains, an integral part of the genres’ vitality. MDC started as ‘The Stains’ in Austin, TX in 1979, alongside such incredibly innovative bands as The Dicks and Big Boys, releasing the classic ‘John Wayne Was A Nazi’ 7” before relocating to San Francisco. After a name-change, they released their debut album, ‘Millions of Dead Cops’, in 1982, which in itself was enough to ensure their reputation. But since then, and with varying line-ups, they have continued to tour and release records, challenging preconceptions and inspiring many others. This book tells the story from Dave’s perspective, including the infamous fall-out with Bad Brains, constant touring and confrontations with various unsavoury characters (from skinheads and the police through to the Pope !) The stories are written in short chapters that maintain an interesting and entertaining tone, illustrating how things really were for a ground-breaking band, particularly during the 1980’s. The fact that Dave is still fronting MDC as they continue to tour and release new music only goes to strengthen the validity of this book. Track-down a copy as soon as you can !
THE RISE THE FALL AND THE RISE by Brix Smith-Start (Faber & Faber) In short, this is a book by Brix about Brix. It is not a book about The Fall, although they do figure largely in it. There is a lot about her peculiar childhood, parental relationships and her life since her last tour-of-duty in the band came to an end. She’s been a busy girl and there’s a lot to talk about. Besides Mark E. you’ll also find Gary Lineker, Nigel Kennedy and, of course, her current husband, Phillip. It’s an intriguing story and although there are a few factual errors, it doesn’t really matter as it’s the gist of the tale that counts. She’s had her high points along with the low, but she’s always found a way forward, changing course just as often as staying true to an original direction. Some of the revelations will be surprising, others will come as expected, but she tells it with a good degree of openness and candour. It probably won’t change your mind about her (or Mark E. for that matter) but it does allow you to understand things a bit more than you probably did before. Definitely worth your perusal.
MEMORY OF A FREE FESTIVAL BY Sam Knee (Cicada Books) I wasn’t sure what to expect from this book as most festivals have, in recent years, become just as turgid and commercialized as the rest of the music business. But this book is a celebration of the true underground spirit that originally established the Festival scene in the UK, starting in the late Fifties during the bohemian / beatnik era and remaining
until the mid-Eighties, when Thatchers’ vicious pig cronies put an end to free festivals. Admittedly, some of the larger commercial festivals did continue to promote interesting line-ups for a while after this and it can be claimed with some validity that the early rave scene continued the spirit, but to date, the true Golden Era was those three decades. Now, I have to admit that I’ve never really been a fan of festivals. I don’t particularly enjoy camping and my attention-span runs out early when too many bands are involved. But I can appreciate that the Free Festival scene did try to present a real alternative which was much needed as a contrast to the UK’s traditional stuffiness. Festivals such as Phun City, Stonehenge and Windsor were probably the best manifestation of this, although many others arose in their wake. Glastonbury also played its’ part, although Michael Eavis was always keen on making money from the event (the free festivals at Glastonbury were helmed by Andrew Kerr in the Seventies.) What this book captures alongside the details, is the attitude of the movement, before big companies and other money grabbers changed the whole thing into little more than a cynical cash-making exercise. If you look carefully, you can still find the original spirit still alive and dancing (check out the ‘Trespass’ events) as long as you don’t fall for the hype. Containing extensive photo’s (which tend to concentrate on the audiences rather than the performers) this book is a beautifully-presented and vital insight to a scene that is mostly misrepresented these days but which can still impress and inspire. Don’t let the bastards sell your culture to you, take back what was yours in the first place !
until the mid-Eighties, when Thatchers’ vicious pig cronies put an end to free festivals. Admittedly, some of the larger commercial festivals did continue to promote interesting line-ups for a while after this and it can be claimed with some validity that the early rave scene continued the spirit, but to date, the true Golden Era was those three decades. Now, I have to admit that I’ve never really been a fan of festivals. I don’t particularly enjoy camping and my attention-span runs out early when too many bands are involved. But I can appreciate that the Free Festival scene did try to present a real alternative which was much needed as a contrast to the UK’s traditional stuffiness. Festivals such as Phun City, Stonehenge and Windsor were probably the best manifestation of this, although many others arose in their wake. Glastonbury also played its’ part, although Michael Eavis was always keen on making money from the event (the free festivals at Glastonbury were helmed by Andrew Kerr in the Seventies.) What this book captures alongside the details, is the attitude of the movement, before big companies and other money grabbers changed the whole thing into little more than a cynical cash-making exercise. If you look carefully, you can still find the original spirit still alive and dancing (check out the ‘Trespass’ events) as long as you don’t fall for the hype. Containing extensive photo’s (which tend to concentrate on the audiences rather than the performers) this book is a beautifully-presented and vital insight to a scene that is mostly misrepresented these days but which can still impress and inspire. Don’t let the bastards sell your culture to you, take back what was yours in the first place !
GOODBYE HELTER SKELTER by George Stimson (Peasenhall Press). So much has been written and broadcast about Charles Manson and his alleged ‘family’ but few have bothered to look beyond the sensationalism to question whether the generally accepted ‘facts’ actually hold much water in the real world. Manson was declared guilty by the media long before the final verdict and no-one wanted to ruin the big story. But so many of the ‘details’ which are readily accepted are either misleading, unsubstantiated or just plain false. The main point of contention is the extent of Manson’s actual complicity in the crimes. The prosecution had to convince everyone that he was the evil mastermind behind the killings, intent on his bizarre plan to rule the world. On the other hand, all those involved originally offered the alternate motive that the murders were committed as copycats killings in an attempt to save their friend, Bobby Beausoleil, from jail. (Most have since refuted this version in attempts to gain parole.) This version is still strongly supported by the facts, but accepting this would have made Manson’s role much less integral to the plot, something that the prosecution and media were already unwilling to accept. The trial itself denied Manson his Statutory Right to conduct his own defence and the Prosecution also gave Linda Kasabian a pardon in exchange for her supporting evidence, despite her own involvement in the crimes. At the end of the day, the trial was stage like a Hollywood production. What this book sets out to do is separate the facts from the myths. Built around hours of conversations with Manson himself (both with the author and from the extensive Sandra Goode archives) it presents a well-reasoned examination of the events as opposed to the screenplay-version that is usually related. Stimson doesn’t try to deny or excuse what happened and he doesn’t try to excuse Manson for his more outlandish views or actions, but at the root of the book is the intention to tell the story as accurately as possible and to present the likeliest scenario for what really happened. It doesn’t try to make out that Manson was entirely innocent and, indeed, he has never denied his knowledge and involvement in the crimes. But it does try to ascertain what really took place and what was, basically, made-up by individuals who had a vested interest in creating the ‘monster’ that Manson represents to most people. As such, this is probably the most well-balanced book you’ll ever read about the case and in an era where more and more people are beginning to realize that what the media reports isn’t necessarily the truth, perhaps this is as good a time as any to make your own reassessment.
TEENAGE KICKS by Michael Bradley (Omnibus.) Alongside Andrew Matheson’s ‘Sick On You’, this is one of the most entertaining music biographies that I’ve ever read. Mickey Bradley has a great style of writing that really captures the spirit of the band and their music. Telling the tale of the Undertones from his own perspective, he manages to cover the highs and lows of their original career, from childhood through to the end of the band in 1983. It’s great fun and totally unpretentious, with no delusions about their naivety and peculiarities, although, of course, it was those quirks that were such an important characteristic of the band. They wrote awesome songs, but you never though they were anything other than a bunch of mates having a good time. In some ways perhaps that worked against them, especially as their music developed, but the band themselves could only ever be themselves. The stories about growing up in Derry during the Seventies are also intriguing, giving a down-to-earth impression of what life was like there at the time, without lingering on the Troubles. Some may be surprised that there is no negativity towards Feargal and, in fact, the camaraderie between all members of the band is something that really stands out. I would, perhaps, have liked a further chapter about the eventual reunion of the band, but at the same time, the book covers the story of the original five members so succinctly, maybe that would have been a distraction. Either way, this is a great account of a deservedly respected band and I’m sure it will be fun whether you’re a fan or not. But you really should be…
NEVER KNOWN QUESTIONS – Five Decades of The Residents, by Ian Shirley (Cherry Red Books) Ian Shirley originally wrote a book about The Residents (‘Meet The Residents’) in 1994. This volume is not merely an updated version but a completely re-written volume, including new and updated material as well as brand new interviews. Much like The Residents themselves, Ian Shirley took his original work and ‘RMX’ed it to provide a more valid, contemporary statement. Alongside the recent ‘Theory of Obscurity’ documentary, this is probably as definitive an article you will ever find about a band whose very nature is to be undefinable. It provides you with as many facts as you’ll ever need to know about the Eyeballed-Ones and doesn’t concern itself with identities or individual characters. It’s the work that counts, not the private lives, and whilst there are many collaborators and allies who are able to elaborate on the ideas and concepts, the band themselves are happy enough to present their work and let the audience arrive at their own conclusions. Ian Shirley clearly understands this and presents the details in an appropriate, complimentary way. I’m sure there will be further books about The Residents, but I very much doubt that any will ever reach a better understanding of the subject than this.
4 MINUTE WARNING #14 (£2.00 + SAE from Mitch Elsden, 31 Fir Grove, Marton, Blackpool, FY1 6PJ.) One of my favourite current fanzines, more because of the total enthusiasm you’ll find on every page than anything else (and there’s plenty of decent bands and articles covered as well.) It’s unashamedly DIY punk rock, but that’s what makes it fun and interesting. No excuses, it just gets on with what it wants to be doing. Lots of interviews (including TV Smith, 36 Strategies, Chaos UK and One Way System, amongst others) loads of reviews and other articles. You don’t have to like or agree with everything, but you’ll want to read it anyway. Two measly quid for 46 A4 pages, it’s a bargain, I tell ya !
WHEN THE STORM BREAKS by Robert Forbes & Eddie Stampton (self-published.) I know there are people out there who would prefer that this book didn’t exist at all, and would prefer that I hadn’t read it, let alone reviewed it. But, as the saying goes, Knowledge is Power. If I am to form an opinion on the likes of Skrewdriver, Blood & Honour and Rock Against Communism, I need to know the facts. So many stories and so much propaganda has been spread by both sides that it becomes difficult to know what is true and what is false. This book sets out to put things in a factual light and, indeed, the references are meticulously listed throughout. There are those who would argue that such a book shouldn’t be allowed to exist as some of the opinions expressed within (through the extensive interviews) could influence the readers to form extremist views, but let’s face it - the kinda people who form racist views are just as likely to be influenced by The Sun or The Daily Mail. So at which point would the book-burning begin ? No, I would prefer to be given the choice to read books like this and given the credit that I’m intelligent enough to form my own opinion. If you face this book with an objective approach, it certainly gives you the option. To blindly condemn it just because you don’t like the subject is certainly not the best way to confront it.
To begin with, although Eddie Stampton is involved with the Nationalist movement, Robert Forbes writes from a neutral position, intrigued by the subject but not involved in the dogma. This gives the writing a more-balanced approach than had it been written by either a supporter or someone on the opposing side. That being said, this is still something that most people would find abhorrent, and the propensity towards violence is particularly repellent. But once you read the book, you begin to realise that it’s something that has become an ogre far out of proportion to the reality. This is probably the first time that the story of Skrewdriver and their ilk has been set-out entirely factually, including the dates, the details and the people involved. The first thing you’ll notice is that there actually weren’t that many people in the ‘movement’ (in the UK, at least) and that the few times they did come to any kind of national attention (such as the Waterloo and Jubilee Gardens incidents) the numbers always seemed greater due to the anti-fascists and bystanders, making it much more of a spectacle but not accurately accounting for the amount of nationalists actually involved. The second thing is that, throughout the book (which covers a 15 year period) there are continuous tales of squabbling and in-fighting. It certainly doesn’t give the impression that there was a solid, common purpose, even within the relatively small numbers involved.
The other side of this story is, of course, the music itself. The book attempts to give a fair assessment of this and certainly doesn’t shy away from saying when a band were mediocre or, indeed, just plain bad (even some of the better known bands get called-out at times.) It’s also interesting that, although the Oi movement was blamed by many for promoting racist or neo-nazi views, most of the bands quickly moved away from that style towards more traditional Rock music – even ballads became an acceptable part of the albums !
Now, I’m not going to say that everything said in the book is bad, and in fact, a few people even talk some sense. Being patriotic, for example, is not necessarily the same as being racist or xenophobic, and taking pride in European culture does not mean that you have to deny everything else. But the problem is that such extreme views, as held by some in this book, end up making the chance of a proper debate on subjects such as immigration far more difficult. The liberal media automatically take the opposing viewpoint, making it a ‘for or against’ topic, and frankly, it really isn’t that simple.
But the real issue that comes across is that very few of the interviewees seem to hold clear, coherent beliefs apart from the option of blaming someone else. Skrewdriver may have sung ‘White Power for England, before it is too late’, but as Stewart Home has previously pointed out, England has always had, and no doubt will continue to have, a white-based ruling-class. Such posturing is completely ignoring the British hierarchy which will always be the root-cause of the problems faced by the common people in this country, regardless of how long they’ve lived here.
There are other themes that could be addressed (such as the obsession with Viking and male-warrior imagery, particularly poignant in the case of Nicky Crane, for example…) but really, where this book succeeds is that it puts all the facts together and, whether you support these beliefs or oppose them, you now have the opportunity to know what it was about and why it happened. You don’t have to be a Nazi to read this book, and you can make your own mind up at the end of it. Isn’t that what democracy is about ?
(PS - although the initial run of this book has already sold-out, a revised version is planned for publication by Feral House (USA) before the end of 2015…)
To begin with, although Eddie Stampton is involved with the Nationalist movement, Robert Forbes writes from a neutral position, intrigued by the subject but not involved in the dogma. This gives the writing a more-balanced approach than had it been written by either a supporter or someone on the opposing side. That being said, this is still something that most people would find abhorrent, and the propensity towards violence is particularly repellent. But once you read the book, you begin to realise that it’s something that has become an ogre far out of proportion to the reality. This is probably the first time that the story of Skrewdriver and their ilk has been set-out entirely factually, including the dates, the details and the people involved. The first thing you’ll notice is that there actually weren’t that many people in the ‘movement’ (in the UK, at least) and that the few times they did come to any kind of national attention (such as the Waterloo and Jubilee Gardens incidents) the numbers always seemed greater due to the anti-fascists and bystanders, making it much more of a spectacle but not accurately accounting for the amount of nationalists actually involved. The second thing is that, throughout the book (which covers a 15 year period) there are continuous tales of squabbling and in-fighting. It certainly doesn’t give the impression that there was a solid, common purpose, even within the relatively small numbers involved.
The other side of this story is, of course, the music itself. The book attempts to give a fair assessment of this and certainly doesn’t shy away from saying when a band were mediocre or, indeed, just plain bad (even some of the better known bands get called-out at times.) It’s also interesting that, although the Oi movement was blamed by many for promoting racist or neo-nazi views, most of the bands quickly moved away from that style towards more traditional Rock music – even ballads became an acceptable part of the albums !
Now, I’m not going to say that everything said in the book is bad, and in fact, a few people even talk some sense. Being patriotic, for example, is not necessarily the same as being racist or xenophobic, and taking pride in European culture does not mean that you have to deny everything else. But the problem is that such extreme views, as held by some in this book, end up making the chance of a proper debate on subjects such as immigration far more difficult. The liberal media automatically take the opposing viewpoint, making it a ‘for or against’ topic, and frankly, it really isn’t that simple.
But the real issue that comes across is that very few of the interviewees seem to hold clear, coherent beliefs apart from the option of blaming someone else. Skrewdriver may have sung ‘White Power for England, before it is too late’, but as Stewart Home has previously pointed out, England has always had, and no doubt will continue to have, a white-based ruling-class. Such posturing is completely ignoring the British hierarchy which will always be the root-cause of the problems faced by the common people in this country, regardless of how long they’ve lived here.
There are other themes that could be addressed (such as the obsession with Viking and male-warrior imagery, particularly poignant in the case of Nicky Crane, for example…) but really, where this book succeeds is that it puts all the facts together and, whether you support these beliefs or oppose them, you now have the opportunity to know what it was about and why it happened. You don’t have to be a Nazi to read this book, and you can make your own mind up at the end of it. Isn’t that what democracy is about ?
(PS - although the initial run of this book has already sold-out, a revised version is planned for publication by Feral House (USA) before the end of 2015…)
STONEAGE fanzine #6. (willycarroll@yahoo.com) Stoneage has acquired a near mythical status, in that I’ve known Willy for a few years but, although several reliable witnesses have claimed sightings, I had never actually seen any physical evidence of the alleged fanzine. But that has now all changed and I am no longer a sceptic. The truth is out there, and a damn fine read it is, too. Loads of generally short interviews, often concerning encounters with the Rolling Stones, with the likes of Walter Lure, Henry Rollins, Viv Albertine, Kid Congo, Sylvain Sylvain and Paul Simenon, plus more substantial interviews with James Williamson and Thurston Moore. The great thing is Willy’s easy-going style, more intent on swapping stories about favourite records and gigs than getting into meaningful lyrics of guitar specifications. It’s a lot of fun, the sorta fanzine you’ll read all the way to the back page. Trust me, this is a good one – get in touch as soon as possible.
FAILSAFE fanzine #12 (failsafezine@yahoo.com) Probably my favourite UK fanzine, this issue contains in depth interviews with The Fits, Anti-Establishment and veteran US band Don’t No, as well as all the usual, extensive reviews. What I like about it is that the interview subjects are chosen because they’re going to be interesting, rather than just a ‘big name’. Even if you’ve never heard of the band, the interview will be a great read because of the depth and detail it goes into. But it’s not just a trainspotting exercise, there’s plenty of humour and purpose behind it all. This is one of the few fanzines I will read from cover to cover and I can’t recommend it enough.
BOOK OF THE YEAR by TV Smith (Arima) Exactly what it says in the title – a document of every gig played by TV Smith (and a few days-off) during 2013. When you realise that amounts to over 120 performances and nearly 20 different countries, as far apart as Russia and Uruguay, then you’ll see that it involves a lot of experiences and a lot of entertaining material. TV writes in a very down-to-earth style, almost as if he’s just chatting on a one-to-one basis, so it’s very easy to be drawn into his world. It’s certainly not a life of luxury and he never holds any such pretentions. This is simply the story of an artist with a desire to take his music wherever he can. This is what he does. Fortunately, enough people appreciate his work and support his efforts. While it doesn’t always go according to plan, it’s great to see that he always comes out on the other side. It’s all about being true to yourself and not being sold-short and the book really captures the spirit of it all. Entertaining and inspiring, this should not be missed.
CLOTHES CLOTHES CLOTHES MUSIC MUSIC MUSIC BOYS BOYS BOYS by Viv Albertine (Faber & Faber) Having never been a huge fan of The Slits, I wasn’t even vaguely sure what to expect from this autobiography, but I’m pleased to say it’s surprisingly good and I think you would enjoy it even if you have no liking or knowledge of the music. Viv writes and tells her story in a very down to earth style but always remains intelligent, articulate and very perceptive. Admittedly, it may be easier to understand events in retrospect, but Viv does this without any pretensions or revisionism, which so often occurs in memoirs. Instead, she just sticks to the events and characters, describing how they went on to affect her emotionally or creatively. Whilst The Slits are now, quite rightly, considered feminist icons, and many of the people they were closely involved with have also reached similar cultural status, Viv is just as intent on focusing on her own frailties as much as her successes. In fact, one of the more interesting aspects of the book is how she dealt with her life post-Slits, returning to a more routine lifestyle and, again, she opens up as much about the low points as the high, which makes it much easier to relate to her as a real person. It’s an inspiring book and it leaves you with a sense of honesty and integrity. The tale of a normal person in an extraordinary life, perhaps ?
ANGER IS AN ENERGY by John Lydon (Simon & Schuster) Considering John Lydon’s current status as an alternative national treasure, and the fact that his first autobiography only dealt as far as his time in the Pistols, he’s well within his rights to release a second volume. He has had plenty of time and exploits since then, although that being said, the first 180 pages does cover much of the same ground again (albeit with plenty of new details.) But it’s from that point onwards that things start to get really interesting. He puts forward a pretty realistic theory concerning the Sid & Nancy deaths and then moves on to the development of PIL. The thing is, it was the chemistry between the original band members that created the volatile atmosphere necessary for them to produce the remarkable music they made together, but it also left them vulnerable to instability and, inevitably, their demise. Lydon’s claims that he was innocent in all of this don’t really ring true, as his creativity obviously fed from the same factors and that would indicate he must have been a part of the whole situation. There’s always going to be different points of view, but as this is Lydons’ book so we only get his. He also goes into detail about later and current PIL line-ups, plus the Sex Pistols reunions, which now seem to be at an end. There’s also a lot more information about his life with Nora and his various escapades away from music. At times, his memory does seem to be a little selective but overall it’s a fascinating read and, when you consider that this is a man who has had a huge social and cultural impact over the past few decades, you can only respect him and his opinions, even if you choose to disagree.
SPLITTING IN TWO by Robert Dellar (Unkant) Biographical work documenting Roberts’ exploits in the fields of Punk Rock, squatting and Mental Health Care. In particular, he goes into some depth concerning his involvement with the radical pressure group, Mad Pride, a group who continue to be as much about entertaining themselves as having their points heard. It’s interesting to hear the story from someone so closely involved, as it really explains their motives and describes the characters who made it so unique. It’s also of particular interest to me, and I’m sure this will be the same for many others, as so many of the events and places discussed cross over into my own timeline, allowing me to directly relate to many of the tales, even though I know little about the author himself. His life has many twists and turns, yet more to relate to, and it’s mostly written in a pretty easy-going narrative, although occasional lapses into a Stewart Home / Richard Allen style provide amusing breaks from the regular text. As a document of a life spent in an alternative environment, this is probably as real as it gets.
DEFIANT POSE fanzine #8 (PO Box 2544, London, NW6 3DF) I can’t believe I haven’t come across this before now, as it’s just the sort of fanzine that I really enjoy. This issue came to my attention due to the inclusion of a 7” featuring previously unreleased tracks from Rema Rema (see vinyl review elsewhere) but the fanzine itself is an excellent read. Like Failsafe, it concentrates more on lesser-known but highly-interesting bands whose stories deserve to be documented. A Rema Rema interview / retrospective features prominently, as well as the likes of Blood & Roses, Cervix, Heretics and The Stench (arguably the first all-female punk band, having performed even before The Slits !) An anarcho-situationist attitude is prevalent and makes for a great presentation. You really need to catch up on this publication as soon as you can.
ALICE COOPER – WELCOME TO MY NIGHTMARE by Dave Thompson (Omnibus) Whilst Michael Bruce and Alice himself have both published biographies, they’ve obviously been from a subjective viewpoint and not really got under the skin of the Alice Cooper phenomenon. This is the first book that attempts to do so and, to a great extent, it’s pretty successful. It’s the details concerning the original band that are most fascinating. As a band, opposed to the solo artist that the singer became, they really were quite remarkable, able to stir up controversy but always providing great music to justify the publicity. The deserved success of ‘Welcome To My Nightmare’ may have prompted the continuation of Alice Cooper as a solo performer, but sadly, none of his albums since that time matches the classics recorded by the original band, even though live shows have remained consistently entertaining. Rather than a biased press release, that’s what this book really illustrates and as such it’s a fascinating read. Unfortunately, nowadays Alice Cooper is thought of as the born-again Christian golf fanatic who plays alongside members Guns & Roses or Johnny Depp, but there was a time when the band, as a whole, were considered a threat to society whilst creating some of the best, most inventive rock music of the era. Trust me, you need to know about that band.